A new sculpture by American artist Tschabalala Self titled Lady in Blue has been unveiled on the fourth plinth in Trafalgar Square, London. The installation, unveiled in September 2026, is the 16th commission for the site since the initiative began in 1999. Positioned on the plinth built in 1841 for an equestrian statue that was never installed, Lady in Blue depicts a confident, large-scale female figure captured mid-stride, adorned in a flowing blue skirt and platform shoes.

The work has drawn attention for its striking presence and vivid polychrome finish. The sculpture’s surface, polished to a glossy sheen, contrasts the subject’s warm brown skin tones with a deep blue that evokes lapis lazuli, a rare mineral historically prized as a pigment. This color connects the statue with the artworks housed in the nearby National Gallery, recalling the rich ultramarine featured in Renaissance paintings such as Bronzino’s Allegory With Venus and Cupid.

Lady in Blue’s form has been noted for its departure from traditional Western sculpture conventions. Critics have highlighted its nod to African wood carving traditions and medieval Ife bronzes through its stylized body proportions and regal head, presenting a figure that is both monumental and approachable. The sculpture celebrates movement and urban life, drawing comparisons to Umberto Boccioni’s futurist work Unique Forms of Continuity in Space, emphasizing the dynamic quality of walking.

The unveiling followed previous fourth plinth works that were more somber in tone, including Teresa Margolles’s memorial to transgender and non-binary individuals, and Samson Kambalu’s historical recreation involving Malawian pan-Africanist John Chilembwe. In contrast, Lady in Blue brings a lighter, more playful energy to the site. Observers have noted the sculpture’s joyous qualities, describing it as both a boldly confident figure and a joyful celebration of diversity in a contemporary London context.

While the statue has been praised for its humor, vitality, and cultural resonance, commentators caution against expecting art alone to resolve societal issues such as racism and intolerance. Nonetheless, many see the figure as a timely reminder of the importance of representation, inclusivity, and resilience amid ongoing cultural and political tensions.

The installation will remain on the fourth plinth until September 2028, offering the public an opportunity to engage with its nuanced blend of artistic traditions, social commentary, and celebratory spirit in one of London’s busiest public spaces.